Adrienne Manglars was born on March 12, 1695 in Lyon in the family of a painter.
He received his first painting lessons from his father and at the age of 15 he left France for of Italy, which became his second homeland. His teacher was the now little-known painter Bernardino Fergione.
Among many Italian landscape masters, Manglars managed to gain a strong position and authority. The number of his clients grew steadily. Among them were the King of Sardinia and the Austrian collector Ernst Guido Harrach. There were also orders for the palace’s decoration (statues of Doria, Albani, Rospigliosi, Chigi, Colonna).
Adrianne Manglars' favorite painting genre was marinas or, in other words, seascapes. It is believed that Dutch artists of the 17th century were the first to depict sea views. At the same time, in France, numerous seascapes in the spirit of romanticism, ahead of their time, were created by the painter Claude Lorrain (1600-1682). In the 17th century, the landscape was not considered a “high” genre, and a concept of a separate seascape did not exist at all. Therefore, Claude Lorrain often had to go to the trick - to depict a historical event against the background of the landscape to give the picture a sonorous name, and thereby attract the attention of the audience to his work. For example, his seascape with a harbor, which he called “The Embarkation of the Queen of Sheba” (1648). The queen herself is depicted as a small figure in the lower right corner of the picture and is clearly not the center of the composition.
By the beginning of the 18th century, the attitude on landscape changed, it significantly strengthened its position among other genres, and by the middle of the century it even became popular. At the same time, marine painters also became claimed.
The influence of Claude Lorrain is traceable in the works of Adrianne Manglars. Although the artists did not have the opportunity to intersect in life - when Manglars was born, Lorrain was already dead - undoubtedly Manglars can be considered the successor Lorrain’s traditions in landscape painting. This can be seen both in the choice of the theme and in the way the composition ‘Scene in the Seaport’ is technically performed. A shadow in the foreground of the painting, a tall building on one side, and a steep bay on the other frame the painting in a natural landscape frame. Inside this frame is the light water of the bay, the thin light lines of the ship’s mast against the backdrop of the serene sky. The artist appeals to the visual contrast between dark and light, heavy and airy.
Authorship attribution of this landscape was difficult. For a long time, the author of the picture was considered the French seascape painter Claude Joseph Vernet, the creator of the series of paintings “Ports of France”. Studies of an X-ray copy of the landscape refuted this version and confirmed the authorship of Adrianne Manglars - Vernet’s teacher. Probably, ‘Scene in the Seaport’ is the only reliable painting by Manglars in Russia. To date, no other of his works have been found in Russian museums.
He received his first painting lessons from his father and at the age of 15 he left France for of Italy, which became his second homeland. His teacher was the now little-known painter Bernardino Fergione.
Among many Italian landscape masters, Manglars managed to gain a strong position and authority. The number of his clients grew steadily. Among them were the King of Sardinia and the Austrian collector Ernst Guido Harrach. There were also orders for the palace’s decoration (statues of Doria, Albani, Rospigliosi, Chigi, Colonna).
Adrianne Manglars' favorite painting genre was marinas or, in other words, seascapes. It is believed that Dutch artists of the 17th century were the first to depict sea views. At the same time, in France, numerous seascapes in the spirit of romanticism, ahead of their time, were created by the painter Claude Lorrain (1600-1682). In the 17th century, the landscape was not considered a “high” genre, and a concept of a separate seascape did not exist at all. Therefore, Claude Lorrain often had to go to the trick - to depict a historical event against the background of the landscape to give the picture a sonorous name, and thereby attract the attention of the audience to his work. For example, his seascape with a harbor, which he called “The Embarkation of the Queen of Sheba” (1648). The queen herself is depicted as a small figure in the lower right corner of the picture and is clearly not the center of the composition.
By the beginning of the 18th century, the attitude on landscape changed, it significantly strengthened its position among other genres, and by the middle of the century it even became popular. At the same time, marine painters also became claimed.
The influence of Claude Lorrain is traceable in the works of Adrianne Manglars. Although the artists did not have the opportunity to intersect in life - when Manglars was born, Lorrain was already dead - undoubtedly Manglars can be considered the successor Lorrain’s traditions in landscape painting. This can be seen both in the choice of the theme and in the way the composition ‘Scene in the Seaport’ is technically performed. A shadow in the foreground of the painting, a tall building on one side, and a steep bay on the other frame the painting in a natural landscape frame. Inside this frame is the light water of the bay, the thin light lines of the ship’s mast against the backdrop of the serene sky. The artist appeals to the visual contrast between dark and light, heavy and airy.
Authorship attribution of this landscape was difficult. For a long time, the author of the picture was considered the French seascape painter Claude Joseph Vernet, the creator of the series of paintings “Ports of France”. Studies of an X-ray copy of the landscape refuted this version and confirmed the authorship of Adrianne Manglars - Vernet’s teacher. Probably, ‘Scene in the Seaport’ is the only reliable painting by Manglars in Russia. To date, no other of his works have been found in Russian museums.
